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Notes 1 Introduction: Video Games and Storytelling 1. It must be noted that the term ‘Narratological’ is a rather loose application by the Ludologists and the implications of this are pointed out later in this chapter. 2. Roland Barthes states that the ‘infinity of the signifier refers not to some idea of the ineffable (the unnameable signified) but to that of a playing [ ...] theText is plural’. Source: Barthes, R., 1977. Image, Music, Text, in: Heath,S.(Tran.), Fontana Communications Series. Fontana, London. pp. 158–159. 3.In Gaming Globally: Production, Play, and Place (Huntemann and Aslinger, 2012),theeditors acknowledgethat ‘while gaming maybe global, gaming cultures and practices vary widely depending on the power and voice of var- ious stakeholders’ (p. 27). The paucity of games studies scholarship coming from some of the largest consumers of video games, such as South Korea, China and India, to name a few, is markedly noticeable. The lack of represen- tation of non-Western conceptions of play culture and storytelling traditions is similarly problematic. 4. Chapter 8 will engage with this issue in more detail. 5. ‘(W)reading’ is preferred over the more commonly used neologism ‘wread- ing’toemphasise the supplementarity of the reading and writingprocesses and also to differentiate it from earlier usage that might claim that the two processes are the same thing. 3 (W)Reading the Machinic Game-Narrative 6. For whichhe is criticisedby Hayles (see Chapter 2). 7. Landow respondstothis by rightly stating that Aarseth misreads his original comment where heclaims that ‘the reader whochooses among linksortakes advantage of Storyspace’s hypertext capabilities shares some of the power of theauthor’(Landow, p.
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